When a man and woman flirt with each other at a wedding reception, the sexual tension seems spontaneous. As they break from the party to a hotel room, the flirtation turns into a night filled with passion and remorse.
Julien Janvier lost his mother young, drifted apart from his working class father and ever closer to confident Sophie Kowalsky, the Polish class outsider. Their dares game, symbolized by an... See full summary »
A man runs into a woman at a wedding. They start to flirt and talk and find that they get along. Throughout their discussion, the man talks about certain memories as if they were common to the two of them. We gradually learn that there may have been a previous connection between these two when they were younger. This just leaves more questions as their past is slowly revealed. Written by
3 apparent B-roll shots of the supporting characters in a ballroom full of dancers were actually created using visual effects. When the Line Producer asked the Director the minimum number of extras needed for these shots during principal photography, the Director requested 50 extras. When only 7 extras showed up on the ballroom shoot days, an alternate solution became necessary. The Visual Effects Supervisor found takes which included empty sections of the ballroom. Taking several high resolution stills from those takes, he created 3 background plates. During a day of additional photography, both the supporting characters who would appear in the foreground and pairs of dancers who would appear in the middle ground were shot against a greenscreen. The Visual Effects Supervisor then composited up to a dozen elements to create shots which appear to contain the bride, her bridesmaids and the young man and young woman characters in the midst of a ballroom full of dancing couples. See more »
I agree with Roger Ebert - one of the best at Telluride 2005
I was lucky enough to see this movie on Monday, September 5, the last day of Telluride 2005. There were five other screenings that had sold out before that. I'd heard the about the film, but wasn't sure I had to see it until I read Roger Ebert's review of the film on his website's festival writeup.
I didn't think that a movie made entirely in split screen could be anything but a gimmick. But after seeing the film, I agree with Ebert--the split screen comes to seem necessary. The split screen is used not only to show the simultaneous actions and reactions of both characters, but also shows flashbacks juxtaposed with the present, alternate versions of the present, and moments imagined or hoped by the characters that quickly return to reality. Sometimes the present is fractured into more than one emotion for a given line or action, showing an actor performing the same moment in different ways. The editing is assured and masterful, employing storytelling techniques that couldn't exist without the split screen. The writing is brilliant, full of humor and insight. The movie is like nothing you've ever seen before.
Aaron Eckhart and Helena Bonham Carter are amazing--funny and heartbreaking at the same time. I really can't wait to see this movie again. If a movie ever rewarded two viewings, it's a movie that plays in two frames.
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